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THE HOME OF HART SCHAFFNER AND
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SFAMOUSPtCTURE
Res?. Eonheur’s Stirring Master
piece, “The Horse Fair.”
A PRIZE THAT FRANCE LOST.
The Artist's Native Land Permitted
the Great Canvas to Find a Home In
This Country—The Story of tho
Painting and Its Replicas.
One of tlie chief glories of (he Metro
politan museum in New York is Xtosa
Boulieur's stirring masterpiece, "The
Horse Fair," a picture which for its
irresistible movement and living por
traiture of man’s most useful friend
holds a unique position in the annals
of art and the affections of lovers of
paintings.
Few, however, are acquainted with
the intimate history of that notable,
canvas, and fewer still are aware that
there are no less than live horse fair
pictures in existence. The one In New
York is the original and. it will he re
membered. was iirst the property of A.
T. Stewart and then purchased for the
Metropolitan by Cornelius Vanderbilt
for 250.000 francs.
It was painted in Paris, the models
used being the horses of the Paris Om
nibus company and a few animals
studied at the horse market of the
French capital. It was iirst exhibited
at the salon of 1855, but went back to
the artist unsold.
A part of the further history of the
famous painting is recorded by Ernest
Gambart in his manuscript memoirs,
which have been freely drawn upon
for tl»e "Reminiscences of Itosa Boo
beur:”
“After the dosing of tbq IRo" Paris
salon 'Tile Horse Fair’ was intrusted
to the Society of Artists of Ghent for
exhibition in that town, where it had
a great success, but whence it also
came hack unsold. In the spring of
1554 I expressed to Mile. Bonheur the
desire to buy it from her. At that time
it was in Bordeaux, her native town.
“Her preference was that the munic
ipality should purchase it for the city
museum, and a price of 12.000 francs
had been mentioned at which the town
authorities might acquire it. But she
said to me that if the canvas came
back to her again she would let me
have it. However, she could not let
it go to England for less than 40,000
francs.
"p uahcM rati ngly_ accepted the bar
gain, and it was agreed'!hat the pic
ture should be mine unless sold "to
Bordeaux. As the picture was back
in her studio again in the following
yeaf, I told Mile. Bonheur that I
wished to take it at once in order to
have it in my 1855 exhibition and that
I should like to have it engraved by
Thomas Landseer, the celebrated en
graver and brother to the painter.
“She Wits delighted at the idea of
the picture being engraved and said to
sue: 'I have asked you 40.000 francs
for my picture, although in France I
cannot got 12.000. arid I am pleased at
your consenting to my terms. On the
other hand. I don't mean to take un
due advantage of your liberality. How
can we arrange matters? Let 11s see.
Well, tbe picture is very large, and it
will be difficult to find a -tee for it
in an engraver's studio. P -ides, you
want to exhibit it. Wouldn't it In; bet
ter for me to paint you a smaller
copy ?' ”
That suggestion she carried out and
explains how the second canvas came
Into existence. That smaller copy was
the one from which Landseer's well
known steel engraving was made and
is tlie picture which is iu the British
National gallery.
When site heard that it had become
the property of the British nation
Mile. Bonheur decided to make a third
copy. tlMiiking the second was not
good enough for the London collection;
hence "The Horse Fair" No. 3. But
the National gallery authorities were
not able to accept the substitute, as
the painting which it was designed to
replace ’had been given to them as
trustees. *
Besides these three. Mile. Bonheur
executed a water color replica and a
drawing based on a large photograph.
Of all these, however, the picture in
the Metropolitan is by far the finest
work, which is only as it should be in
view of the fact that the artist always
found her best .public in' America.
This was recalled to her detriment
when the rosette of the Legion of Hon
or was requested in her behalf. “She
has ceased exhibiting at the isalon,”
objected the president, “and sells in
America everything she paints.” The
complete answer to that was that the
French government had had the op
portunity to buy “The Horse Fair,”
hut had neglected it—Argonaut.
An Accurate Description.
“Did you ever run into a telegraph
pole?” inquired the elderly passenger.
“Yes, ma’am,” said the chauffeur,
slowing up the taxicab i» avoid a col
lision with a street car. *Tve bumped
into telegraph poles, I reckon, two or
three times.”
“Brings you to a pretty sudden stop,
doesn’t it?”
“No, ma’am; the machine stops, ail
right, but I always keep on going.”—
Chicago Tribune.
Curious.
“X had a curious experience yester
day,” said Farmer Corntossel.
“What was It?”
“A stranger came along and told me
a funny story and didn’t try to sell
me anything.”—Washington Star.
Obedience is not truly performed by
tlie body of him whose heart is dis
►.tisfled ,-Snndi. ,
LOST HIS LINEN JOB.
The Salesman Who Made a Caricature
of A. T. Stewart.
A. T. Stewart was shown one day by
one of liis confidential employees an
amusing caricature of himself done in
pencil.
"Good, good:" he laughed. “That’s
excellent. Who did it?"
"A young salesman at the linen coun
ter. lie scratched it off as you pass
ed the other morning. I managed to
get it from him. and now lie’s scared
stiff for fear you'll see it.” was the
laughing reply.
"Scared stiff, is he?" said Mr. Stew
art. with a twinkle in his eye. “Just
sent him to me. will you?"
A little later a slim youth entered
Mr. Stewart’s private office and said
he understood he had been sent for.
“Yes," said Mr. Stewart gravely and,
holding up tlie sketch asked. “Did you
do tills?”
The lad grew pale and stammered.
"I beg your pardon, sir: it was only
a bit of fun. I meant no offense.”
“That’s all very well, but you’ll have
to give up your job here.”
The youth humbly protested, when
Mr. Stewart hurst out laughing and
said: “Don’t say any more, my boy.
I'm only joking. Your sketch is excel
lent. and as it would be a sin to keep
a man of your artistic talent behind a
linen counter I propose to supply you
with the means to study art."
Mr. Stewart’s proposition was grate
fully accepted, and it was thus that
John R. Rogers, tbe sculptor, began his
artistic career.—New York Press.
His Littl* jokt.
A well known German who is some
thing of a wag walked into one of tin
public offices In Cincinnati the ether
day. and from the noise it was plain
that lie was wearing a pair of new
shoes or ones that had recently been
repaired.
One of the clerks remarked about
tlie slices, and the German said:
“I comes pretty near selling desc
shoes the other day.”
“How is that?" asked the clerk.
“I had ’em half soled.” said the Ger
man as lie walked out of the office.
A deep groan was heard as lie slip
ped through tho door.—Cincinnati Com
mercial Tribune.
Why tho Statue Kept Mum.
The Venus of Milo refused to tell
how she lost her arms.
"if 1 should say I broke them off
while trying to button my dress up the
back.” she said, "you'd ask me what
has Become of the dress.”
Rciepsingvinto stony silence, she paid
no further attention to the question
ers.—Chicago Tribune.
BABY BROTHER.
\ Cft Canned
i S peaches
cs^>er t’
November 24th, 1910
Dear friend
I ’don't think there
is anything nicer for
desert at supper than
two nice tig slices
of canned peaches.
The juice is good,
too.
v Mama has canned
peaches or canned,
something for dessert
very often, because
it isn't any trouble.
Your friend,
Jacob.
P. S. You can get
any kind of peaches or
canned fruit at
Feed
Horses and Mules
req;
mm
s*tßawY al "*' c "" tiiM ” m ° v '-'-■ ■
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